ASSIGNMENT No.
Q.1 Does media mirror reality or shape reality? Support your
argument with reasons.
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The relationship between media and reality is complex, and
one could argue that media both mirrors and shapes reality,
though the extent of each varies depending on the context.
Media as a Mirror of Reality
Media often reflects societal values, events, and norms,
acting as a mirror to what is happening in the world. News
outlets report on current events, dramas explore social issues,
and documentaries capture real-life stories.
This mirroring function helps people understand their world,
stay informed, and see their own experiences and struggles
reflected in popular culture.
For example, shows like The Wire or Black Mirror tackle
issues of systemic corruption, technological overreach, and
social inequality—issues that exist in the real world. By
portraying these topics, media offers a reflection of the world
that can provoke thought and discussion.
Media as a Shaper of Reality
However, media does more than just reflect reality; it also
plays a significant role in shaping it. The media influences
public opinion, spreads ideologies, and can even alter
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behavior. This shaping occurs through selective reporting,
framing of issues, and the creation of narratives that
influence how people perceive the world.
For instance, the portrayal of beauty standards in
advertisements and films has a profound impact on how
people, especially young women, perceive themselves and
their bodies. The repeated exposure to certain ideals can
shape societal expectations and behaviors. Additionally, the
24-hour news cycle and social media can amplify certain
issues while ignoring others, shaping what the public
considers important or urgent.
In conclusion, while media does mirror reality by reflecting
existing social conditions and cultural norms, it also actively
shapes reality by influencing perceptions, beliefs, and
behaviors. The dynamic interplay between these functions
underscores the powerful role media plays in society.
Media is the most pervasive and one of the most powerful of
many influences on how we view men, women and their
social roles. Media insinuate their messages into our
consciousness at- every turn. All forms of media
communicate images of the sexes, many of which perpetuate
unrealistic, stereotypical and limiting perceptions (Wood,
1996).
Socialization the process whereby individuals are made
aware of the behavior that others expect of them as regards
the norms, values and culture of their society. Agents of
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socialization include the family, school, friendship groups,
religious institutions and the mass media .
Social Construction of reality - in media studies, this idea
emphasizes that there is no single 'reality', rather a range of
definitions of 'reality'. Reality as presented by the mass media
is therefore not a picture or reflection of 'reality', but, rather, a
constructed interpretation of reality. In the view of 'radical'
critics of the media in particular, the mass media play a
crucial role in 'constructing reality' for the rest of us. In the
view of many representatives of post-structuralism and post-
modernism, just about every aspect of reality seems to be
considered a social construction .
In their classic treatise The Social Construction of Reality
Berger and Luckman (1966) claim that society exists as both
objective and subjective reality. While we perceive the world
we live in as 'real', as something that exists beyond our own
perceptions and beliefs and that will continue to exist when
we are not there, we acknowledge at the same time that not
everyone perceives reality. in the same way.
Still, it is not merely that people perceive reality in a
particular way, their perception has consequences for their
sense of self, relations with others, their mode of conduct and
a whole range of other social practices. In these social
interactions people produce, reproduce and adjust definitions
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of reality: "If men define situations as real, they are real in
their consequences"
Reality is not merely something that exists 'out there', but it is
also (re)constructed by the social and sense-making activities
of human beings
Q.2 Discuss various feminist perspectives regarding the
women’s portrayal in media.
Feminism and Media
Many feminists express concern about how the media has
contributed to the cultural conversation about feminism at
different historical moments over the past twenty-five years.
Feminist theory is vital to explaining the rhetoric of media
production.
According to Zoonen (1999), a feminist viewpoint on the
media implies a univocal, confident and unswerving
denunciation of popular culture, both for its sexist and
oppressive portrayal of women and for the devastating effects
it is supposed to have on women and men.
As Quoted in Carolyn Moss (2006), "the ways in which
women are routinely portrayed in mass media have been the
focus of feminist media scholarship over the past thirty years.
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Like in Tuchman et al. (1978)'s work, Ceulemans and
Fauconnier (1979) found that advertising, televisions, films,
news and other genres in Western nations as well as those in
Asia, Africa and Latin America, Disproportionately
emphasized women's traditional domestic roles or treated
them as sex objects.
Media representations thus became a major front for both
popular and academic feminist struggle, continuing up to the
present time with contemporary concerns such as bride sites
on the could argue now than before, with 24/7 news
channels, hundreds of satellite and digital.
LIBERAL FEMINIST PERSPECTIVE
Liberal feminism is a form of feminism that argues that
equality for women can be achieved through legal means and
social reform, and that men as a group need not be
challenged.
RADICAL FEMINIST PERSPECTIVE
Radical feminism is a branch of feminism that views
women's oppression (which radical feminists refer to as
"Patriarchy") as a basic system of power upon which human
relationships in society are arranged. It seeks to challenge
this arrangement by rejecting standard gender roles and male
oppression.
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SOCIALIST FEMINIST PERSPECTIVE
Socialist feminism is a branch of feminism that focuses upon
both the public and private spheres of a woman's life and
argues that liberation can only be achieved by working to end
both the economic and cultural sources of women's
oppression.
Socialist feminism is a dualist theory that broadens Marxist
feminism's argument for the role of capitalism in the
oppression of women and radical feminism's theory of the
role of gender and the patriarchy.
CULTURAL (ISLAMIC/PAKISTANI) FEMINIST
PERSPECTIVE
Islamic feminist is a discourse and practice articulated within
an Islamic paradigm, which derives its understanding and
mandate from the Quran, seeks rights and justice for women,
and for men, in the totality of their existence.
Islamic feminism is both highly contested and firmly
embraced. There has been much misunderstanding,
misrepresentation, and mischief concerning Islamic
feminism. This new feminism has given rise simultaneously
to hopes and fears
Q.3 Analyze the stereotypical portrayal of women in
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national and international TV dramas and soaps.
Illustrate with examples.
The stereotypical portrayal of women in national and
international TV dramas and shows has been a persistent
issue, reflecting and reinforcing gender norms and
biases. These portrayals often limit the roles and
identities available to women, depicting them in ways
that can be harmful and reductive. Below is an analysis
of some common stereotypes and examples that illustrate
these trends.
The Damsel in Distress
One of the oldest stereotypes is the "damsel in distress,"
where women are portrayed as helpless and in need of
rescue, often by a male hero. This trope reduces women
to passive characters whose primary function is to
motivate the male protagonist.
Example
In many action-adventure series, such as Superman or James
Bond, female characters are often shown as needing to
be saved. Lois Lane in Superman frequently finds herself
in peril, relying on Superman to save her. This reinforces
the notion that women are dependent on men for
protection and security.
The Femme Fatale
The "femme fatale" is another stereotype where women are
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depicted as seductive and manipulative, using their
sexuality to achieve their goals. This trope often portrays
women as dangerous and untrustworthy, reducing their
character complexity to mere physical allure.
Example:
In international shows like Nikita or House of Cards,
characters like Nikita or Claire Underwood use their
charm and cunning to manipulate men and gain power.
While these characters are portrayed as strong, they are
often depicted in a way that reinforces the idea that
women's power lies primarily in their sexuality.
The Domestic Caretaker
Women are often shown in roles that emphasize their
domestic responsibilities, portraying them as caregivers,
mothers, and homemakers. This stereotype limits
women's identities to the private sphere and suggests that
their primary value lies in their ability to nurture and care
for others.
*Example:*
In many family-centric TV dramas, like Desperate
Housewives or Indian soap operas like Kyunki Saas Bhi
Kabhi Bahu Thi, female characters are predominantly
shown managing household duties, raising children, and
supporting their husbands. Even when they work outside
the home, their careers are often depicted as secondary to
their domestic responsibilities.
The Overly Emotional Woman*
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Another common stereotype is that of the overly emotional
woman, portrayed as irrational, hysterical, or overly
sentimental. This portrayal undermines women’s
credibility, particularly in roles that require leadership or
rational decision-making.
*Example:*
In legal or medical dramas like Grey’s Anatomy or Suits,
female characters often face criticism or are depicted as
being less competent due to their emotions. Dr. Meredith
Grey from Grey’s Anatomy frequently struggles with
balancing her emotional vulnerabilities with her
professional responsibilities, often being judged more
harshly than her male counterparts.
The "Perfect" Woman*
There is also the stereotype of the "perfect" woman, who is
beautiful, successful, and seems to have everything under
control. This portrayal is unrealistic and can create
pressure on women to conform to unattainable standards
of perfection.
*Example:*
In shows like Sex and the City or The Bold Type, female
characters are often portrayed as glamorous, successful,
and effortlessly balancing their careers, friendships, and
love lives. While these characters are empowered, the
depiction can also reinforce the pressure on women to
excel in every aspect of life without showing the real
challenges they face.
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*The Submissive Wife*
In many dramas, especially in conservative cultures, women
are depicted as submissive and obedient to their
husbands, reflecting traditional gender roles. This
portrayal suggests that a woman's primary duty is to
serve her husband and family.
*Example:*
In traditional soap operas from countries like Turkey, India,
and some Latin American telenovelas, female characters
often endure suffering and mistreatment from their
husbands without complaint, reinforcing the idea that
women should be passive and submissive.
The stereotypical portrayal of women in TV dramas and
shows—whether national or international—contributes
to reinforcing gender biases and limiting the roles
available to women both on-screen and in society.
While there has been progress in recent years with more
complex and diverse female characters, these stereotypes
persist and continue to shape public perceptions of
gender roles. The media, therefore, has a responsibility to
challenge these stereotypes and present women in ways
that reflect their real-world complexities and capabilities.
Q.4 Do you agree that lately there have been some
improvement regarding portrayal of women in the
Pakistani newspapers? Please discuss with examples.
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The idea of "peritoneal affirmation" in the context of
Pakistani newspapers isn't a common term. If you're
referring to the improvement in the representation or
affirmation of issues related to women's rights, gender
equality, or social justice in the Pakistani media, there
has indeed been some progress, though challenges
remain.
Improvements in Representation
In recent years, there has been a noticeable shift in how
certain issues are covered in Pakistani newspapers,
reflecting a growing awareness of gender-related
concerns and a willingness to engage in more
progressive discourse.
Increased Coverage of Women’s Rights Issues*
Pakistani newspapers have started giving more attention to
issues like gender-based violence, workplace harassment,
and the importance of women's education. Reports on
cases of domestic violence, honor killings, and sexual
harassment are more frequently highlighted, and there is
often a stronger editorial stance advocating for justice
and reform.
*Example:*
The coverage of the #MeToo movement in Pakistan, led by
women like Meesha Shafi, was a significant moment.
Newspapers like Dawn and The Express Tribune
provided extensive coverage, not just of the incidents
themselves but also of the broader implications for
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women's rights in Pakistan. This marked a shift from
earlier times when such issues might have been
downplayed or ignored.
Editorials and Opinion Pieces*
There has been a rise in the number of editorials and opinion
pieces addressing gender inequality, women’s
empowerment, and the need for legal reforms. These
pieces often critique societal norms and call for changes
that support women's rights.
*Example:*
Dawn often publishes editorials that discuss the need for
better laws to protect women and children, analyze the
impact of patriarchal structures on society, and highlight
the achievements of women in various fields. These
articles contribute to a more nuanced and affirmative
discussion of gender issues.
Positive Depiction of Women’s Achievements*
There is also a trend towards more positive coverage of
women’s achievements in various fields, including
politics, sports, education, and business. These stories
help counteract negative stereotypes and present women
as active and capable contributors to society.
*Example:*
Coverage of women like Malala Yousafzai, Asma Jahangir,
and Arfa Karim often highlights their contributions and
struggles. This not only brings their achievements to the
forefront but also serves as inspiration for others.
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Challenges and Limitations
Despite these improvements, significant challenges remain in
the portrayal of gender-related issues in Pakistani
newspapers.
Sensationalism and Victim-Blaming*
In some cases, the coverage of gender-based violence or
harassment can still lean towards sensationalism, where
the focus is on the gruesome details rather than the
systemic issues. Victim-blaming is also a problem, where
the narrative shifts to questioning the behavior or attire
of the victim.
*Example:*
There have been instances where the reporting on cases of
rape or honor killings has included unnecessary details
that can perpetuate stigma rather than focusing on the
need for justice or societal change.
Limited Representation of Diverse Voices*
While there is more coverage of women’s issues, the voices
that dominate these discussions are often those of urban,
educated women. The experiences of women from rural
areas, lower socio-economic backgrounds, or minority
communities are still underrepresented.
*Example:*
Reports and discussions around gender issues in newspapers
like The News or Nawaiwaqt often feature perspectives
from well-known activists or celebrities, but there is less
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space given to grassroots voices or those from
marginalized communities.
*Conservative Backlash*
Progressive coverage is sometimes met with backlash from
conservative segments of society, which can influence
how newspapers frame certain issues. The fear of
offending certain groups may lead to self-censorship or a
less aggressive stance on sensitive topics.
*Example:*
Discussions around topics like reproductive rights or
LGBTQ+ issues are still highly sensitive and often either
avoided or covered in a way that reflects the conservative
values of the majority.
While there have been notable improvements in how
Pakistani newspapers cover issues related to gender and
social justice, these advancements are uneven and face
significant challenges. The increased coverage of
women’s rights, more critical editorials, and positive
representation of women’s achievements are positive
trends. However, issues like sensationalism, limited
diversity in representation, and conservative pushback
continue to hinder more substantial progress. Continued
efforts are needed to ensure that the media plays a
constructive role in promoting gender equality and social
justice in Pakistan.
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Q.5 Write notes on the following:
a) Factors of identification with television characters
Factors of Identification with Television Characters*
Identification with television characters is a psychological
process where viewers see aspects of themselves in a
character, or feel a connection that goes beyond mere
admiration. This identification can influence how
viewers perceive themselves, their behaviors, and their
emotional responses to a show. Several factors contribute
to this identification:
*Similarity*
One of the most powerful factors in identification is
perceived similarity. Viewers are more likely to identify
with characters who share similar traits, backgrounds, or
experiences. This similarity could be based on:
Demographics:*
Age, gender, ethnicity, and socio-economic status can create
a sense of familiarity and relatability. For example, a
young woman might identify with a female character
who is navigating similar life challenges.
Personality Traits:*
Viewers often connect with characters who exhibit traits or
values they see in themselves or aspire to have, such as
kindness, ambition, or resilience.
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Life Circumstances:* Shared experiences, such as going
through a breakup, starting a new job, or dealing with
family issues, can make a character's story resonate
deeply with viewers.
Emotional Engagement*
Emotional engagement refers to the feelings a viewer
develops towards a character, which can foster a sense of
identification. If a character’s emotional journey mirrors
that of the viewer or evokes a strong empathetic
response, the viewer is likely to feel a deeper connection.
For instance, a viewer who has experienced loss may
identify with a character dealing with grief, even if their
circumstances differ.
Character Development and Complexity*
Well-developed, complex characters are more likely to elicit
identification. Characters who grow, face challenges, and
evolve over time offer more opportunities for viewers to
see themselves in different aspects of the character.
These multidimensional portrayals allow viewers to
engage with different facets of their personality and life
experiences.
*Moral Alignment*
Viewers often identify with characters whose moral compass
aligns with their own. Characters who embody the
viewer’s ethical beliefs or who fight for causes the
viewer supports tend to create a strong sense of
identification. For example, characters who advocate for
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justice or equality can resonate with viewers who share
those values.
*Wish Fulfillment*
Sometimes, viewers identify with characters because they
represent an idealized version of themselves or a life they
aspire to. This wish fulfillment factor allows viewers to
live vicariously through the character's experiences,
imagining themselves in similar situations or possessing
similar traits, such as bravery or success.
*Narrative Involvement*
The level of a viewer's involvement in the story can also
affect identification. When viewers are deeply engaged
in a narrative, they are more likely to immerse
themselves in the character’s world, leading to a stronger
identification. This is particularly true in serialized
dramas where viewers follow a character's journey over
multiple episodes or seasons.
*Cultural Context*
Cultural background can influence how viewers identify with
characters. Characters who reflect cultural norms, values,
or struggles that are relevant to the viewer’s own culture
can create a sense of shared identity. For instance, a
character navigating cultural expectations or challenges
related to their cultural identity might resonate strongly
with viewers from similar backgrounds.
*Media Literacy and Critical Engagement*
Viewers with higher media literacy may engage with
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characters on a more analytical level, but this doesn’t
necessarily prevent identification. Instead, they might
identify with characters who challenge stereotypes or
who are portrayed in complex, realistic ways. This
critical engagement can enhance the identification
process by adding depth to the viewer's connection with
the character.
Identification with television characters is a multifaceted
process influenced by a combination of personal,
psychological, and contextual factors. Whether through
similarity, emotional engagement, character complexity,
or cultural relevance, viewers find ways to see
themselves in the characters they watch, leading to
deeper connections with the stories being told. This
identification can have significant implications for how
viewers understand themselves and the world around
them.
b) Roles of mass media in society
In most places throughout the world, the media have
become crucial to the workings of the economic,
political, social and cultural spheres; at the global,
national and local levels, as well as for everyday life in
the private sphere, where they are important sources of
both information and entertainment. (Media & Gender
Handbook, 2005)
According to Pervez (1984) Media has three societal roles:
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The watchman, to provide information about the happenings
and the events
The contributor, to the decision making process, to provide
the material necessary for a dialogue on certain issues.
The modifier of attitude, during the process of decision
making the media modifies attitudes, preferences and actions
in the desired direction.
Many studies on mass media have proved that the media
plays a vital role in conserving or reinforcing the existing
views and attitudes of a society. Media acts as a strong force
in maintaining the status quo in the roles of different
segments of the society. The fictional characters portrayed
through the popular media serve as a model or identificant
object for a large number of people.
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